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All Journal Wikrama Parahita : Jurnal Pengabdian Masyarakat Metta : Jurnal Ilmu Multidisiplin JURNAL ILMIAH PENDIDIKAN KEBUDAYAAN DAN AGAMA Jurnal Pendidikan dan Sosial Humaniora
Tengku Hartati
Universitas Syiah Kuala
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Astronomy Chemistry Computer Science & IT Earth & Planetary Sciences Economics, Econometrics & Finance Education Energy Engineering Environmental Science Health Professions Immunology & microbiology Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Mathematics Nursing Physics Public Health Social Sciences Other

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Eco-Art Diorama as Thematic Learning Media for Early Childhood Education (PAUD) Nurlaili Nurlaili; Ghousina Ghousina; Naura Atkiya; Rida Safuan Selian; Tengku Hartati; Ilham Septian
Wikrama Parahita : Jurnal Pengabdian Masyarakat Vol. 10 No. 1 (2026): May 2026
Publisher : Universitas Serang Raya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30656/jpmwp.v10i1.11657

Abstract

This Community Partnership Empowerment Service activity aims to improve the competence of early childhood education (PAUD) teachers in developing eco-art-based thematic learning media through the utilization of used materials. The program was implemented in Aceh Besar Regency using a hands-on training and mentoring approach. The activity methods included partner needs analysis, providing conceptual materials, practicing diorama media creation, and evaluation through pre- and post-activity questionnaires, observations, and product assessments.  The results of the activity showed a significant and measurable improvement in teacher competence, as indicated by the increase in average scores from the moderate category (mean 2.5–2.9) to the good–very good category (mean 4.0–4.3). In addition, 88% of the diorama media produced were deemed suitable and effective for use in PAUD thematic learning, and 82% of teachers were able to independently develop eco-art–based learning media, while more than 80% of teachers expressed readiness and commitment to implement them sustainably in the classroom.  The impact of sustainability was also seen in the increased independence of teachers as developers of learning media based on local potential, thereby reducing dependence on manufactured media. This indicates that the program not only improved competencies but also strengthened sustainable teaching practices and teacher empowerment. Overall, this activity has an impact on improving the quality of PAUD thematic learning while strengthening the internalization of environmental awareness values from an early age through an eco-art-based teacher empowerment approach.
Rapa’i Geleng Sebagai Media Dakwah Kultural Masyarakat Aceh Yuli Astuti; Samsuri Samsuri; Ilham Septian; Nurlaili Nurlaili; Yeni Zuryaningsih; Lindawati Lindawati; Tengku Hartati
Metta : Jurnal Ilmu Multidisiplin Vol. 6 No. 2 (2026)
Publisher : Jayapangus Press

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37329/metta.v6i2.5563

Abstract

Rapa'i geleng is a traditional Acehnese performing art that embodies Islamic values and serves not only as a form of entertainment but also as a medium for da'wah and the dissemination of religious, moral, and social messages to the community. However, studies examining its role as a medium of cultural da'wah through the integration of poetic verses and symbolic performance elements remain limited. Understanding these aspects is important for explaining how traditional arts contribute to the transmission of Islamic values and the reinforcement of Acehnese cultural identity. Therefore, this study aims to analyze the role of rapa'i geleng as a medium of cultural da'wah in Acehnese society. This study employed a qualitative descriptive approach, with data collected through observation, interviews, and documentation in Seuneulop Village, Manggeng District, Southwest Aceh. The findings reveal that the da'wah function of Rapa'i geleng is reflected in poetic verses containing praise to Allah SWT, stories of the exemplary character of Prophet Muhammad SAW, encouragement to pursue knowledge, and messages promoting the preservation of Acehnese customs and culture. Furthermore, performance elements such as floor patterns, costumes, and movement structures embody Islamic symbolic meanings that reinforce the delivery of da'wah messages to audiences. The findings indicate that rapa'i geleng functions not only as a traditional performing art but also as an effective medium for transmitting Islamic values and strengthening the cultural identity of the Acehnese people.
Penciptaan Karya Tari Lamm Rhuup Berbasis Tradisi Geudeu-Geude sebagai Representasi Budaya Masyarakat Pidie Haibil Azizi; Sarah Dea Nabella; Dwi Indriani; Muhammad Huwaidi; Fahra Azzikri; Thijan Dadari; Tengku Hartati
Khatulistiwa: Jurnal Pendidikan dan Sosial Humaniora Vol. 4 No. 2 (2024): Juni : Jurnal Pendidikan dan Sosial Humaniora
Publisher : Lembaga Pengembangan Kinerja Dosen

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/khatulistiwa.v4i2.12850

Abstract

Creating dance works based on local culture serves to preserve and develop cultural heritage through performing arts. The Lamm Rhuup dance is a creative work inspired by the traditional strength-testing contest of the Pidie Regency community, Aceh, developed into a dramatic performance exploring greed, ambition, and self-control. This study aims to describe the creation process of the Lamm Rhuup dance, analyze the application of choreographic elements, and reveal its symbolic meanings. The research employs a qualitative method using a Practice Based Research (PBR) approach, positioning the creative process as an integral part of the research. Data were collected through literature reviews, observation of the Geudeu-Geude tradition, movement exploration, improvisation, composition, artistic evaluation, and documentation. The results show that Lamm Rhuup transforms traditional Pidie values into choreography integrating traditional movements, dramatic performance, rapa'i music, makeup, costumes, and floor patterns representing conflict between characters. Movement development is based on Geudeu-Geude characteristics and creatively adapted through space, time, and energy. Symbolically, the work represents the struggle between courage and greed, conveying that strength without wisdom leads to destruction, while true nobility arises from self-control and wisdom. This research contributes to local culture-based dance studies and the preservation of Acehnese cultural identity through performing arts.
Tradisi Becanang pada Prosesi Mungerje di Kabupaten Aceh Tengah Tengku Hartati; Yuli Astuti; Samsuri Samsuri; Rida Safuan Selian; Ilham Septian
JURNAL ILMIAH PENDIDIKAN KEBUDAYAAN DAN AGAMA Vol. 3 No. 4 (2025): Oktober: Jurnal Ilmiah Pendidikan Kebudayaan dan Agama
Publisher : CV. ALIM'SPUBLISHING

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59024/jipa.v3i4.2435

Abstract

The Becanang tradition in several sub-districts within the Central Aceh Regency is no longer practiced. Maintaining the Becanang tradition requires conscious effort and awareness from the community itself. This study aims to describe the Becanang tradition concerning its history and the rules applicable to its implementation. Data collection was conducted through interviews, observations, and documentation. The approach used is a qualitative descriptive analysis, wherein the collected data is interpreted and analyzed using triangulation, data reduction, data display, and data verification. The research results indicate that Becanang has existed since the era of the Linge Kingdom. At that time, Becanang functioned as a pentalu, or a summon for the Sarakopat (royal subordinates), and was also performed when welcoming guests of honor. Currently, Becanang is performed at wedding ceremonies as well as to welcome guests. Canang is also used during Jule bai (escorting the groom to the bride's house). Furthermore, Canang is played by women during cooking activities prior to the mungerje day (preparations for the wedding reception).  
Co-Authors Dwi Indriani Fahra Azzikri Ghousina Ghousina Haibil Azizi Ilham Septian Lindawati Lindawati Muhammad Huwaidi Naura Atkiya Nurlaili Nurlaili Rida Safuan Selian Samsuri Samsuri Sarah Dea Nabella Thijan Dadari Yeni Zuryaningsih Yuli Astuti